The first track on the album, “Axolotl” is intriguing to me. I love the emotion and chaos that the instruments bring to the song, and I think the vocals fit them perfectly. I was curious as to what “axolotl” meant and upon a Wikipedia search discovered that an axolotl is a Mexican salamander known as a walkingfish, none of which are still surviving in the wild. They are unusual because they mature into adulthood without undergoing metamorphosis like other amphibians. I wondered if this had anything to do with the song’s meaning.

This track is the only one on the album to have a music video released, and it confuses me in terms of lyrical meaning. I find the music video to be disturbing in a fascinating way, but it took me in a completely different direction than I thought it would. It features a man with a clear abnormality, which includes black sludge pouring out of his stomach and his mouth. This motif ties in with the album art, a portrait of a woman with what looks like oil paint pouring out of her mouth. Watch this music video below.

“A Bit on the Side” reminds me of another band that I cannot for the life of me remember. I think I hear something very familiar in the vocals because the music itself is very understated until there is no one singing. I do wish that the music wasn’t so repetitive. I think it sounds good in between verses and the chorus, but it can get a bit exhausting to listen to over and over again. I hope that the band isn’t as repetitive throughout the rest of the album. That being said, the first lyrics of this song is “hoochie-coo-mon-ami-oh-my, honey, honey” which is very satisfying to say so I’m into that.

“Low Lays the Devil” is a very AM-era Arctic-Monkeyian song. I can’t stop focusing on the guitar in this song, some of the riffs are beautiful. I don’t care too much for the lyrics, but I love “sure as inside the egg lies the yolk, I’m standing outside the gates of Hell, and I’ll keep singing ’til I croak.”

You can definitely tell that the band is trying to directly tell something to the listener in “King of Chrome.” The vocals are much stronger than any other part of this song. The voice sounds a lot like it did in “Axolotl,” so it is possible that the artists were trying to make us draw a connection between the two tunes. They were the two songs that represented the same types of things: a man that is lonely, and man that is turning into a monster, a man that can’t find anyone else that is like him, a man that seems very angry for reasons we can’t really see based on lyrics alone.

“Swimming with the Crocodiles” is my favorite song on Total Depravity so far. It makes me want to drive and it makes me feel very nostalgic. I think that nostalgia stems from the guitar’s crooning, which was a common motif in music my dad used to listen to as we were on road trips when I was young. This song’s lyrics are also very beautiful, but I wonder what the crocodiles really are. It would make sense for them to be harsh memories or people from the past. I could also see that the water represents the comfort that can come from dwelling in something, sad or otherwise.

“Here Come the Dead” is the most sudden contrast to the previous (very calming) song. The song starts very vacant with pregnant pauses in between lyrics, then starts with very harsh guitar. Throughout the song, the music goes from calm to harsh to relaxed to sudden, a back and forth pattern. I am not sure how I feel at all about this song, but I’m kind of put off because a few of the subtle sounds in the background vaguely remind me of Jellyfish Jam from Spongebob which is so not anywhere near relevant to this album and very unfortunate for The Veils.

“In the Blood” was a good way to calm the listener down after listening to “Here Come the Dead.” I loved the opening lyric “he holds your nightmares in one hand and your dreams in the other, but no matter which one you demand you’ll wish you would’ve chose the other.” It was a simple lyric with a simple voice and a simple melody in the background, which was great to calm my nerves after the whole “this song is creeping me out but also reminds me of Spongebob??” fiasco.

In “Iodine & Iron,” my favorite part of any album is featured. If you’ve read any of my other album reviews, you know how much my heart sings for a string element. There was a subtle orchestra in the beginning, and there were cello harmonics in the middle, and there was a lone violin in there, and the orchestra returned and I’m just very happy with it. The song as a whole had a lot more country elements than I would have preferred in the music, but I think that The Veils had a great balance between the different instruments and the vocals that I’m not really that upset about it.

I wish that there had been more diversity between “Iodine & Iron” and the next track, “House of Spirits.” The music is very similar, but the latter is a lot less country-esque sounding. I love the rhythm and the chill-ness of this song, but there really isn’t too much else to say about it. I feel like it fits in, but that’s all.

“Do Your Bones Glow at Night?” is a title that had interested me since I scanned the various titles on the album. It could be a love song, or it could be a person looking for someone like them. The second prediction would make more sense, as we have seen a man seemingly, possibly, looking for someone that is like him. (A truck driver driving for his entire life, perhaps looking for someone or something.) Both of my predictions were somewhat correct–the singer is looking for someone that is like him, but he wants to love that person. He hopes that if he finds that love it will lead him to something better and happier. The music and vocals aren’t my favorite by a long shot, but I think that the lyrics are a bit better.

“In the Nightfall” is second to “Swimming with the Crocodiles” as my favorite tune from Total Depravity. I do like the extremely relaxing nature of the song, but I like even more that it seems to tie in with “King of Chrome.” This song opens with the lyric “I stepped out to the sound of my radio on the right song.” It made me wonder if this entire time during the entire album, the trucker was telling his story through the radio he was listening to.

It would explain why there were so many drastic changes in the style of the songs; perhaps he was flipping through the radio stations. Sometimes there were songs next to each other that sounded similar, so perhaps that’s when he decided to stick with a radio station for a few songs. We can see him step into this truck at the beginning of the album during “King of Chrome,” and step out of his truck now after thinking for a while, during “In the Nightfall.”

The last song, “Total Depravity” seems like the perfect song to play during the credits if the rest of the album were a movie. The lyrics recap the story in some subtle ways, but the music itself serves as a great outro to the story. It feels like a sendoff, which is what I feel the truck driver/man looking for common ground really needs.

The album seems to be a tale or commentary on corruption either of an individual or of a group of people, but also of how it is possible to get out of it. In the “Axolotl” music video, first a man has black sludge dripping from his mouth until eventually all of the people around him also do. Perhaps it is about a man who is or thinks he is corrupting the people around him. Whatever the meaning, I will probably be listening to this album in the future, and have found a few new groovy tunes that I love.

You can listen to the album on YouTube here, or on Spotify below.

The post Album Review: “Total Depravity” by The Veils appeared first on KRUI Radio.

I arrived at the Trumpet Blossom Café two hours early to meet with Daisy Chains and get a sense of the atmosphere of this lovely and cozy place. I like their warm lighting, dedicated ornaments in the house.

Around 8:30 pm, Daisy Chains came to my table, and we started our conversation. “We did a ten-day tour in Midwest, and now it is about time to perform in my hometown” said Iowa City native, Drummer Walker Neudorff. The guitarist, main vocalist E.A. Bambery, and bassist Allison Gunderson are from Minneapolis.

Country-inspired, garage, post-punk music group Daisy Chains is the sweet, warm and down-to-earth band when it came to answering my questions. “I like the softness and feminine of the name ‘Daisy.’ Daisy is also a name from my favorite salsa jar” Beth described the band name excitedly. “We love being on the road, doing live show” the three of them agreed, and they enjoy the tension on the stage.

Before the headliner, Daisy Chain played, The Savage Young Taterbug was the first band that started out. When they were playing tunes on the stage, a crowd of people suddenly came closer to the stage, and stood in front of my table. I figured if you want to have a good view of the band, you could only stand between the tables and bar.

The Savage Young Taterbug has a guitar, cello, and electronic keyboard.

They had a soft, thick country-mixed rock feeling. The addition of the cello gradually built up the atmosphere that impressed me a lot. “We got a beautiful feeling, whisper, stash to my baby” got stuck in my head. The third song “The Paperstud” was my favorite song from them. But the keyboard did not play it smoothly in the beginning. The audience laughed a little and waited for them to keep it back on. The sound of the keyboard is liked raindrops falling to compose a beautiful, sad folk rhythm. The Audience seemed enjoyed their performances.

After a short wait, Gem Jones came on the stage with their basses. The main vocalist wore a polka dot shirt with his flamboyant blonde hair: I think they had a good fashion taste.

Their song has the Lo-fi garage rock or punk rock feeling of which I am not a fan. It is fuzzy and loud, and the lyrics were not what they wanted us to listen to, but the beat was awesome. After hearing one song, I felt I lost my hearing a little. I tried to stand in the second row to follow the crowd; I saw people in the first row were moving their heads following their music.

Finally, around 11 pm, the central part of tonight, Daisy Chains, began to set up. Some of the people in the front were gone, and other audiences went to have a seat near the bar. They started with two songs, not on their album. At first, the drum part overpowered Beth’s vocals; later her voice became powerful, but softer at the same time. When the second song “Don’t tell me” played, people started to lean toward the stage. I loved Beth’s voice so much; it is versatile, and she conveyed the bitterness of the lyrics. The ending part featured a radical drum solo that stood out.

The third and fourth song were from their album “Above Abroad.” “Slack Jawed” featured some jumpy bass chords. Between the chords, Beth sang, “let go” and yelled it out. There was a feeling of leaving the ungrateful people. In the middle of the song, Beth paused and softly  thanked the chillness that Walker (drummer) brought, which differed from how she sang on the stage.

I liked their song “Bye Babe” the most. The Bass lead the song. Beth’s voice was emotional when singing “my babe.” It rose and fell and made you want to hear more songs like this. The last song was “Your Heart Out” by the Fall. They added a guitar that added a more smooth feeling.

They ended the show with more and more people coming to the front. When they wrapped up, some people came and asked if they could buy an album from them. I felt the time passed relatively fast and I wanted to hear more from their lyrical songs and sink in the atmosphere again. Their music speaks for them. I wish they would release an LP and maybe record a video so that people who cannot see their live performance can hear it.

The post Mission Creek: Daisy Chains @ Trumpet Blossom Cafe 4/9/16 appeared first on KRUI Radio.

I arrived around 6:45, with 15 minutes to spare before the opening act, Tyondai Braxton. I patiently waited until the house lights dimmed down at 7 and Tyondai came out. Tyondai, a tall and tanned man with a curly afro, gave a shy wave and headed to his safe haven that was his equipment. A single laptop, a keyboard, and tons of cables sat in front of him as he towered over it. Red and white lights shone down on him as he started to play.

Silence hung in the air for a brief moment as he stared down at the table in front of him. The music started up, a slow beat at first. It sounded like the bass that builds up the anticipation in a movie, or like the sound of an airplane when it fires up.

More futuristic sounds were crescendoed in soon after, and the bass kept building up. He stared down with determined eyes at the table, bobbing his head to the music. To me, it kind of sounded like a never ending EDM ringtone that kept changing beats. I was able to identify some more unpleasant sounds, like tires squeaking on cement, or when people drag their feet on the ground, or high pitched ringing. At one point I could even feel myself cringing and my toes curling.

It sounded almost as if it wants to be like catchy club music, but it’s too quirky to be with its incorporation of maracas and bird chirping. It was easy to tell that Tyondai must take a lot of inspiration from his environment, considering the sounds he’s able to produce are familiar and identifiable. The music always mellowed out, going into a lull before transitioning into another song, making it an hour straight that he played for.

He bobbed his head, occasionally looking up at his laptop but never looking at the crowd. When he bobbed his head, he was looking straight down at the table as if the audience wasn’t even there. I looked over the crowd to see people sitting with their hands propping up their faces, and some people relaxing. I felt slightly awkward just sitting there and watching him, considering I’ve never been to a show where the musician never did any talking. But he was doing his thing, which made me feel less awkward and more comfortable to be there.

It was almost abruptly that his music faded and a yellow light was cast upon him at 7:57 pm. He gave his hand up in a wave and said “Thank you,” as the audience clapped. He walked off the stage before shortly returning to help clear his things.

The wait for Dawn of Midi was roughly a half hour, which wasn’t too bad. The trio based in Brooklyn walked on stage, waving at the audience before taking their places behind a grand piano, a cello, and drums. The red and white lights along with some fog were back for them. They tuned their instruments, and after a while that turned into them playing their songs.

Dawn of Midi has a lot more of an acoustic vibe to their music as opposed to Tyondai. They take a lot more of their rhythmic structures from North and West African folk traditions, making the vibe in the room calm and mellow. Their music stayed consistent, never really  building to much or having any huge bass drops like Tyondai. It sounded more like a film score, something that you could just sit back and enjoy. It felt more organized than Tyondai, who had random sounds here and there. In my opinion, it was a lot more enjoyable for me to listen to Dawn of Midi for their relaxed tones.

A keyboard solo takes off as the cellist shakes his hand off. The drummer bows his head down and keeps time by bobbing his leg up and down.

After a while, it was kind of boring to watch. That was when I looked behind me and saw that a lot of people had rested their eyes. Again, I felt awkward: is that normal at shows like this? Or is that rude? To the people’s defense, the music could put me right to sleep. It was a beautiful sound and very lulling. I decided to close my eyes too and let the music take me to a different place.

I felt relaxed and at ease as the music flowed through my body. I opened my eyes again and this time focused on the pianist, who had his eyes closed and was bobbing his head from side to side. Each of the musicians seemed to be in a trance, and it was inspiring to see them perform a different style of music.

Their time came to leave and I felt more relaxed than when I had gotten there. The chilly air hit my face as I left The Englert, and I didn’t even flinch.

Would I listen to their music in my down time? Probably as background noise when I study. But would I like to see them again? No, probably not. As much as I enjoyed their music, it wasn’t a concert that I felt had a lot of stage presence. With their type of music, there is no desire to see them live as there is for my favorite bands. Nonetheless, I appreciated their music.

The post Mission Creek: Dawn of Midi and Tyondai Braxton @ The Englert 4/6/16 appeared first on KRUI Radio.

The band is a folk-pop trio comprised of Emily Hope Price (cello, keys), Jocelyn Mackenzie (percussion), and Jeremy Styles (guitar). All three are talented vocalists and musicians. They highlight one another’s musicality with solid harmonies and cultivated instrumentation.

They have released two previous full-length albums God Bless Your Weary Soul, Amanda Richardson and Killing the Darlings as well as an EP Black Vessel. The three best words to describe their sound are passionate, lamenting, and eloquent.

(Links to live performances provided on song titles.)

1. You
The album starts with a strong, “Can you hear me?” which grabs the listener’s attention immediately. This is a classic love song directed to someone who needs to know for certain that the relationship they’re in is solid. The band recently released a new music video for “You” in support of the idea “Love is Love.”

2. Again Animal
“Again Animal” was the first single released from this album, but it is not one of my personal favorites. It has a good driving beat and typical Pearl and the Beard harmonies. The best section of song is near the end, when the band strays from the original flow of the song.

3. Good Death
“So it goes, so it goes, so it goes. Quiet now this lump of heart.” This song is a great one to listen to during extremely stressful times. For college students, stress is quite common. But I also like how this song acknowledges how life moves on no matter what happens, even though there are extremely hard moments. I believe a good death refers to a beautiful relationship that deserves a gentle breakup. Although splitting up seems inescapable like death, this tender song pleads for an amiable end.

4. Burn Me Up (The Gordian Knot)
The Gordian Knot refers to an extremely difficult or involved problem. It would be easier to burn the knot than untangle it. The strongest lyrics of this song are: “You had my heart but it’s gone now. Like everything else, it’s gone gone gone gone now.” Sometimes we fall out of love, whether it be with a significant other, a friend, or even a hobby. Sometimes we need to figure out how to remove ourselves from extremely complicated situations. And often, we have no idea how. I really enjoy the groovy synth sounds throughout this song. There is a composure present that isn’t as prominent in other songs in the album.

5. Yet
If we are lucky, we can find people who love us despite all of our flaws. Even better, we can find others that we love endlessly. This acoustic, calming song exemplifies the vulnerable state lovers are in when they accept each other fully. The song is short, sweet, and sappy. It’s not an extremely groundbreaking melody, but it appeals to the comfort of a trustworthy partner.

6. James
Snappy snare drum, minor key, and suspenseful chords are all guaranteed to draw my attention. I was hooked by this song the first time I heard it. Trouble is, I only like the first half. The mantra “James, release me” starts to make me feel like I am being held captive by the song itself. That may be exactly the point because James is holding the narrator against her will. Nonetheless, I wish the song would end around four minutes (versus seven).

7. Devil’s Head Down
I liked Devil’s Head Down the first several times I heard it, but I have to be in the right mood to enjoy it’s brash electric sound. It’s a song I expect sounds much better live, just because of the quality of the instruments used. Jeremy takes the lead on vocals, which is rare and appreciated.

8. River
Water, like love, is one of the world’s most abundant and yet most complex things. We are made up of both, and we need each to function. River is an attempt to define a particular relationship’s version of love, though I do not find it extremely successful. I’m left with more questions than answers. The mystery makes me want to hit repeat and start my analysis all over again, but it’s also just a really soothing piece. 

9. Take Me Over
Cello, drums, guitar, harmonies, passion. Ah, this is a Pearl and the Beard song. This song is a great tribute to the musical accomplishments the band had throughout the years. “See you when I see ya, maybe in about two years.” They make such intense music together that they need to take a break as much as they may not want to. Just as a romantic partnership that has reached it’s limit, a clean separation allows us to find ourselves again. Take me over no more.

10. Anything
Anything was definitely an experimental song for the band, with unclear lyrics and random electronic sounds. They developed the lyrics from a process the band mates call Mumblecore. Basically Jeremy would mumble nonsense syllables along to the melody before writing actual lyrics. The band decided to turn his mumbles into words for the song. They have proven that they would do anything for a sultry ballad.

11. Oculus
Oculus is a storybook of a song that follows a being known as Oculus. After some research, I learned that Oculus is Latin for eye. The Oculi in Pearl and the Beard’s world provide clarity, more so than the moon. We may not be interested in what Oculus offers us, but he provides us with information we need to know. My interpretation of the song could be completely wrong, but the song allows for many meanings. I picture a dark, dungeon-like scene when I listen to all the background jingles and noises. Acoustic piano can do no wrong.

12. Landmine
“Wait, wait, wait. Sweet ammunition. Please, please, please. Sweet ammunition. Amen.” I feel a sort of agony when I listen to this song, but I get it stuck in my head on a regular basis. We all know people that just have something about them that we can’t stay away from. We know it could and probably will blow up in our faces, but we wait and plead for ammunition. The strength of the electric guitar and the ever-increasing tension has me holding my breath. I’m anxiously awaiting the explosion.

13. Such a Fool
“You’ve got that wall up in your heart again, darling. Don’t you feel at home with me?” Even if the last song of their last album had been upbeat, I would have been an emotional wreck. This song breaks my heart. Especially the lyrics: “Oh I know what I should do. I know what you will do. Such a fool.” I highly recommend repeated listens for relationship problems causing despair or confusion. It seems appropriate to me that Pearl and the Beard ends their album on a sad, soft note. They had a great run, but they cannot tear down the walls preventing them from moving forward as a band.

Grade: A-
Listen to Beast here:

The post Album Review: “Beast” by Pearl And The Beard appeared first on KRUI Radio.

All seating for this event was on stage, which created an intimate and personal atmosphere for both the audience and the artists.

The warm up act was singer and cellist Ben Sollee.  He had a rich and rustic voice that wove itself to the cello in a fantastic way–his voice and cello enhanced each other in both volume and intensity.  Sollee is definitely worth checking out.

William Fitzsimmons and his scraggly beard took the stage next.  He began strumming and singing right away and it became apparent that despite his scruffy appearance he has a fluidly peaceful voice.
Fitzsimmons played two slow, lullaby-like songs before he addressed the crowd.  “It’s going to kind of be a party night if you can’t already tell,” he said sarcastically.  “So don’t be afraid to get up and dance.”

He continued to play the same sort of sounding music.  It was all hardcore folk, which is to say, good lyrics and smooth melodies.  Each song was as soothing as a warm cup of tea.  But the best part of the show, by far, was Fitzsimmon’s hilarious commentary.

“That song was about boners,” he announced about a song about his depression (which seemed to be what every song is about), then bashfully looked at his feet and said, “Wait, I have a confession…that song wasn’t really about boners.”

Two things made this concert that significantly better.

One, the on stage seating made it a “living-room show of sorts” as Fitzsimmons pointed out, and I think this is the environment in which he flourishes.  He connected with the audience well, and his connection to the audience reinforced his comfort and confidence on stage.

Two, I firmly believe I would not have enjoyed the concert if he had not talked.  His music was good, but it doesn’t seem to be meant for the stage–it seems for suitable for the background music of a movie or tv show (two of Fitzsimmons songs have actually been played in Grey’s Anatomy)  or otherwise playing when you’re moody and it’s raining.  His personality was sparkling and humor comparable to a stand-up comedian.

Fitzsimmons played his first ever encore at the conclusion of the show.  It lasted 40 minutes making the concert overall a little over 3 hours. He claimed the show’s painfulness was somewhere between a beloved family pet’s death and world annihilation.

However I liked the show, just in a different sort of way.  Fitzsimmons is a  talented musician and perhaps an even more talented comic.  I wouldn’t mind seeing him in stand-up.

Here’s one of his songs for a rainy day.

The post Show Review: William Fitzsimmons @ The Englert 5/7/14 appeared first on KRUI Radio.